I N V E R T E D
The Fissured Tongue Series
Image is a Still from "Set Theory Orgasm" video; A Visual Poem Performed by Cynthia Kneen and Jude Landsman, 2021
|
Fissured Tongue | Volume Four Welcome to Fissure Tongue Volume 4! Check out the introductory letter from the editor. Cover Art Still captured from video performance "Set Theory Orgasm" by Cynthia Kneen. Yesica Mirambeaux is Managing Editor of the Fissured Tongue series. |
In this volume
Peruse below or check out a PDF version:
Peruse below or check out a PDF version:
"Untitled" by Rupert D. Turnbull; oil on canvas; 28 x 36 in.; 1938; open source from the Smithsonian American Art Museum
|
keep
by Courtney Elizabeth Young " No text from her yet so this is placeholder — cat slides down the water slide and into pool and swims even though it does not like water for paw your face to wake you up in the morning for get scared by doggo also cucumerro . Cat cat moo moo lick ears lick paws show belly scratch the furniture. Leave dead animals as gifts sleeps on my head lick sellotape for howl on top of tall thing or nya nya nyan but meow to be let in." |
Still from "Set Theory Orgasm" video; A Visual Poem Performed by Cynthia Kneen and Jude Landsman, 2021
|
Matter Waves
by Jessica Reed Of this piece, Jessica Reed tells us, "Physics has a vocabulary of images— a whole history and chain of inferences are behind “seeing” this. In physics lab that day, now two decades ago, I had hoped for a revelation — that the instant the image appeared, I would no longer be a naïve viewer. But there was no sudden understanding, and whatever I have learned about reasoned images has come to me in linear fashion from philosophy of science, and elliptically through the rhythms and gestures of Gertrude Stein." |
"Tintype of a woman"; collodion and silver on iron with lacquer; 3 3/8 x 2 3/8 in.; 1856-1900; open source from the National Museum of African American History and Culture
|
The Complaint (selected works)
by Christy Sheffield Sanford " No text from her yet so this is placeholder — cat slides down the water slide and into pool and swims even though it does not like water for paw your face to wake you up in the morning for get scared by doggo also cucumerro . Cat cat moo moo lick ears lick paws show belly scratch the furniture. Leave dead animals as gifts sleeps on my head lick sellotape for howl on top of tall thing or nya nya nyan but meow to be let in.." |
"Flowers" by H. Lyman Saÿen; oil on canvas; 30 1⁄8 x 36 1⁄8 in; 1915; open source from the Smithsonian American Art Museum
|
The Extravagant Art of Seeing
by Ben Miller Ben Miller serves an innovate take on a "wretched" novel reworked. Manuscript pages are torn to pieces and excerpts of text patched together at raw angles; drawings, musings, and interjections from the writer intermingle with a shredded story about a cult leader who forces concerned followers to build a pyramid. |
"Figurative Abstraction" by unidentified artist; brush and ink with pencil on paper; 23 1⁄2 x 20 1⁄8 in.; ca. 1930-1938; open source from the Smithsonian American Art Museum
|
Exhibitionist: The Life of Julie Cotton
by Michaela Anchan A secret, quiet perspective of life unfolds in static glimpses. In this voyeuristic piece, Michaela Anchan exposes uniquely narrative details of a life, from childhood through to assorted ephemera collected after death. |
"Untitled" by B. Jesus Newton; oil on canvas; 22 x 32 5/8 in.; n.d.; open source from the Smithsonian American Art Museum
|
Arrival in Charlottesville
by Jeddie Sophronius "Is your family okay? I google my country. An earthquake, 6.2 magnitude, a different island than mine. This is a ritual by now. Every year a plane crashes, the earth consumes, a volcano coughs, a tsunami cleanses. I’m where I was five years ago:" from Arrival in Charlottesville |
"Cubist Analysis" by John E. Thompson; oil on canvas; 12 1/8 x 10 in.; 1915; open source from the Smithsonian American Art Museum
|
American Windows
by D.J. Huppatz “There’s a silence, like that of cathedrals and cemeteries, that shrouds art galleries. I’d never thought about it before, but the way Annika—maybe because she’s European—danced from painting to painting, enthusing about a jazzy pop-collage with her hands and hips, made me think about that reverent silence. “Colors hit your eyes!” she’d say, “Absorb you before you can respond.”" from American Windows |
"Composition" by Andree Rexroth; pencil and watercolor on paper; 9 x 6 in.; ca. 1935-1943; open source from the Smithsonian American Art Museum
|
the landscape of waffle house
by E.A. Midnight This three-part piece relives for the reader (or herself) three memories / competing moments at the iconic Waffle House. Dive deep into themes of the safety and violence that exist as inherent aspects of the human condition. |
Espejo Negro (Black Mirror), Manuel Alvarez Bravo, palladium print, 1936 (image is a gift of D. Richard Ryan Jr., courtesy of the Art Institute of Chicago)
|
Untitled image, by Autumn Goodman, digital photograph, 2022 (image courtesy of Unsplash)
|
tea tree & jojoba
by NitaJade "i think of Nana, how chemo stole fistfuls of Her braggin-curls so She called up clippers. 15 years pass: She put Her close shave & gold tooth on display when i trim my head a third time, say i’m just tryna get like You." from tea tree & jojoba |
"A Violet Note" by James Abbott McNeill Whistler; Chalk and pastel on grey paper; 10 7/8 x 7 1/8 in; 1885; open source from the Smithsonian American Art Museum
|
A Deforestation
by Susan Sonde "The scent is why we enter the room. We can’t figure it at first, but it scratches at the back of our collective memory drawer like the rats rutting beneath the floorboards of this ongoing gentrification. Once, back alley abortions were performed here. The bedsheets bloody and lying on them never pat away the hurt or stilled the pulse beat. Life hung on the edge of a tear, the flywheel around which all other things whirred." from A Deforestation |
"Still Life" by Earl Horter; watercolor; 15 x 18 1⁄2 in.; 1939; open source from the Smithsonian American Art Museum
|
Two poems
by Benjamin Mast pink inside carpel noctem Explore tactile sensory relationships through forearm tongue dreams and skinned rabbits in Benjamin Mast's pieces pink inside and carpel noctem. |
"Self-Portrait" by Malvin Gray Johnson; oil on canvas; 38 1⁄4 x 30 in.; 1934; open source from the Smithsonian American Art Museum
|
Fact, Fiction, Fantasy: Reinventing Nancy in the Letters of Lucia Berlin and Kenward Elmslie
by Chip Livingston Chip Livingston offers a captivating taste of the multivaried correspondence between international best-selling fiction writer Lucia Berlin and New York School poet/librettist Kenward Elmslie in this fascinating collection of assorted postcards and letters. |
